In this completely revised edition of one of the foundational texts of network sociology, Harrison White refines and enlarges his groundbreaking theory of how social structure and culture emerge from the chaos and uncertainty of social life. Incorporating new contributions from a group of young sociologists and many fascinating and novel case studies, Identity and Control is the only major book of social theory that links social structure with the lived experience of individuals, providing a rich perspective on the kinds of social formations that develop in the process. Going beyond traditional sociological dichotomies such as agency/structure, individual/society, or micro/macro, Identity and Control presents a toolbox of concepts that will be useful to a wide range of social scientists, as well as those working in public policy, management, or associational life and, beyond, to any reader who is interested in understanding the dynamics of social life.

In this completely revised edition of one of the foundational texts of network sociology, Harrison White refines and enlarges his groundbreaking theory of how social structure and culture emerge from the chaos and uncertainty of social life. Incorporating new contributions from a group of young sociologists and many fascinating and novel case studies, Identity and Control is the only major book of social theory that links social structure with the lived experience of individuals, providing a rich perspective on the kinds of social formations that develop in the process. Going beyond traditional sociological dichotomies such as agency/structure, individual/society, or micro/macro, Identity and Control presents a toolbox of concepts that will be useful to a wide range of social scientists, as well as those working in public policy, management, or associational life and, beyond, to any reader who is interested in understanding the dynamics of social life.

In the nineteenth century, the Académie des Beaux Arts, and institution of central importance to the artistic life of France for over two hundred years, yielded much of its power to the present system of art distribution, which is dependent upon critics, dealers, and small exhibitions. In Canvases and Careers, Harrison and Cynthia White examine in scrupulous and fascinating detail how and why this shift occurred. Assimilating a wide range of historical and sociological data, the authors argue convincingly that the Academy, by neglecting to address the social and economic conditions of its time, undermined its own ability to maintain authority and control. Originally published in 1965, this ground-breaking work is a classic piece of empirical research in the sociology of art. In this edition, Harrison C. White's new Foreword compares the marketing approaches of two contemporary painters, while Cynthia A. White's new Afterword reviews recent scholarship in the field.

In proposing a comprehensive network theory that cuts across the range of social sciences, Harrison White rejects conventional hierarchical models and focuses instead on efforts of control in a social structure described as a tangle of locked-in practices. He argues that the widely held conceptions of person and goal grounded in traditional political economy do not provide a basis for social theory that is either coherent or consistent with current developments in psychology and anthropology. White replaces person with identity, which, in a distinctively human sense, emerges from frictions and social noise across different levels and disciplines in networks. Likewise he reshapes the notion of goals, maintaining that they merely inhabit sets of stories used to explain agency, and that action itself comes through selective strategies to break through formal organization. As his main empirical basis, White uses case studies covering a wide range of topics, including tribal religions, changing rhetorics of industrial administration and the premodern Church, practices of State-building, and change of style in popular music. His analyses draw from English social anthropology, natural science, French rhetorics, mathematics, German industrial history, control engineering, and American pragmatism.

In Markets from Networks, one of America's most influential sociologists unveils a groundbreaking theory of the market economy. Arguing that most economists use overly abstract models of how the economy operates, Harrison White seeks a richer, more empirically based alternative. In doing so, he offers a more lucid, generalized treatment of the market models described in his important earlier work in order to show how any given market is situated in a broader exchange economy. White argues that the key to economic action is that producers seek market niches to maximize profit and minimize competition. As they do so, they base production decisions not only on anticipated costs from suppliers and anticipated demand from buyers, but also by looking at their competitors. In fact, White asserts, producers act less in response to actual demand than by anticipating it: they gauge where competitors have found demand and thus determine what they can do that is similar and yet different enough to give themselves a special niche. Building on these and related insights, White creates new mathematical models of how the economy works and how the interaction of its sectors creates mutual protection from the uncertainties of business. These models provide new ways of accounting for profits, prices, market shares, and other vital economic phenomena. He shows, for example, that prices are determined by the coalescing of local variables rather than set in terms of averages as implied by the ''law'' of supply and demand. The model of ''pure'' competition favored by economics is deficient, he concludes, as it fails to account for the varied circumstances of particular industries. Throughout, White draws extensively on case studies of American businesses and on recent mathematical and sociological work on networks. Rivaling standard economic theories with its rich empirical grounding, sheer originality, and scholarly rigor, Markets from Networks will resonate in economics and economic sociology for years to come.

How much does art provide escape from everyday life, and how much does it aid in controlling life? How are art worlds built and maintained? Are new styles the creations of whim or genius? Or are stylistic changes the product of the social and political world in which the artist lives? How does art itself shape these worlds? How are art worlds built